Literary Citizen of the Andes: Gabriela Alemán and Quito 3 Next-generation robotic cockroach can explore under water environments 8 Extreme weather 'potentially catastrophic' for bats 11 Mistletoe Lacks Key Energy-Generating Complex 13 An Exoplanet First! Helium Spotted on Bizarre Comet-Like World 15 Nanoparticles could help rescue malnourished crops 19 Wireless 'RoboFly' Looks Like an Insect, Gets Its Power from Lasers 22 Ancient Chinese farmers sowed literal seeds of change in Southeast Asia 24 New Data: Hurricanes Will Get Worse 26 Lizards’ Green Blood Evolved Four Times 29 Zika virus may pose greater threat of miscarriages than previously thought 31 Forgotten Feminisms: Johnnie Tillmon’s Battle Against ‘The Man’ 34 Little Panic: A Literary Laboratory Exploring What It Is Like to Live in the Stranglehold of Anxiety and 47 What It Takes to Break Free Neanderthals practiced close-range hunting 120,000 years ago 55 Forgotten Feminisms: An Appeal Against ‘Domestic Despotism’ 57 Remarks on Moduli Spaces and String Theory 64 After the Fall 69 Sound-waves: Making opaque materials totally transparent 79 Toy Stories: Portraits of Children and their Toys Around the World 81 Rilke on the Lonely Patience of Creative Work 96 Smoking Ocean Vents Found in Surprisingly Shallow Water 99 Air pollution contributes significantly to diabetes globally 103 A Keith Haring Mural Painted in 1986 and Under Wraps for 30 Years Has Been Revealed in Amsterdam 106 Amanda Palmer and The Decomposers Cover Joni Mitchell’s “Big Yellow Taxi” in Tribute to Rachel 108 Carson Kate Millett: ‘Sexual Politics’ & Family Values 111 Sistema de Infotecas Centrales Universidad Autónoma de Coahuila Dreamlike Landscapes Grow from Sculptural Portraits by Yuanxing Liang 116 How Does the Summer Solstice Affect Animals? 125 Compounds found in green tea and red wine may block formation of toxic metabolites 128 Fixed vs. Growth: The Two Basic Mindsets That Shape Our Lives 131 New Glowing Dichroic Glass Installations by Chris Wood are Activated by Sunlight 144 First confirmed image of newborn planet caught with ESO's VLT 154 Whatever’s Happening to Interracial Love? 157 Alzheimer's: 'Strong evidence' of virus involvement 162 Magnetic skyrmions: Not the only ones of their class 165 Two Hundred Years of Blue 167 A Quiet Novel Turned into a Forceful Performance 188 Astronomers observe the magnetic field of the remains of supernova 1987A 192 What if we knew when and how we'd die? 195 2 Infoteca’s E-Journal No. 451 august 2018 Sistema de Infotecas Centrales Universidad Autónoma de Coahuila Literary Citizen of the Andes: Gabriela Alemán and Quito By Dick Cluster LITERARY CITIES COTOPAXI, FROM QUITO 3 Infoteca’s E-Journal No. 451 august 2018 Sistema de Infotecas Centrales Universidad Autónoma de Coahuila Quito, the capital of Ecuador, is an Andean city 9,300 feet above sea level, squeezed into a narrow valley fifteen miles south of the equator. On the west side, you can take the Teleférico up to the shoulder of the Pichincha volcano and step out of your gondola onto an alpine landscape at an elevation of more than 13,000 feet. Looking down at the urban area from above the tree line reminds me of cities closer to the poles than to the equator—Bergen, Cape Town, or even Anchorage. But unlike those other locations, Quito is not a port, and its cityscape is not set against a background of bright blue. Rather, the city spreads like an elongated flow of white and beige concrete poured between green ridges that hem it in. It’s a low-slung city, in which tallest spire is still the steeple of the cathedral built at the turn of the twentieth-century. It all looks diminutive from above. Across the valley rises Parque Metropolitano, the city’s green, forested lung. If the clouds permit, you can also see a series of snowcapped conical volcanoes in the distance. Those cones remind you that you are standing on an active volcano. In 1660, the last major eruption of Pichincha spewed a massive column of ash into the air, plunging Quito—which was founded in the previous century by Spanish conquistadors on an earlier Inca site—into darkness and blanketing it with more than a foot of debris. After centuries of dormancy, Pichincha stirred again in 1981, and again in 1999, both times raining ash on the capital. So too, to a lesser degree, did a 2015 eruption of Cotopaxi, a volcano fifty miles distant, one of the peaks visible from the top of the Teleférico. “One hundred miles from the snows of Cotopaxi” is where H.G. Wells set his 1904 short story “The Country of the Blind,” the tale of a pristine, fertile valley sealed off from the rest of Ecuador by a huge fictional eruption, “the stupendous outbreak of Mindobamba, when it was night in Quito for seventeen days.” Wells’ text gets a sizable nod in Poso Wells, the second novel by Quito-based Ecuadorian writer Gabriela Alemán. Near the end of Poso Wells, a similar volcano threatens to erupt. Birds fall from the sky, sulphurous gases emerge from the peak. Key characters in the story—four aged men from an ancient civilization whose members have all gone blind—fall to the ground and wait for the end of the world. The blind men are refugees from Wells’s story, but in Alemán’s imagination, the creations of the English writer are no longer isolated or exotic, rather they roam Ecuadorian countryside, always up to no good. The malevolent refugees are connected to the disappearance of a series of several women from a squatter settlement, and to attempts by a multinational mining interest, in league with corrupt Ecuadorian politicians, to despoil the lush landscape from which their ancestors came. In this “mouth of the fucking devil,” forgotten by authorities, except during election years, a demagogic presidential candidate and his closest lieutenants perish in a freak accident involving a campaign speech, a microphone, an electric spark, and the candidate’s bladder overflowing with urine from too much whiskey and beer. When his surviving top-level acolyte, a millionaire next in line for the presidency, vanishes, legions of soldiers, police, and journalists are dispatched to look for him. In contrast, no official attention is paid to the disappearances of poor women in the same settlement, though they’ve been disappearing for years. Reports of the disappearances molder, untouched in the archives of the police. This scandal lying at the heart of the book, counterpoised to the high-level intrigue—a puzzle that one principled reporter and one determined local woman in Poso Wells set out to solve. But Poso Wells also offers scenes set in the country’s cloud forest, in between the lowlands and the volcanic massifs, where golden crowed quetzals survive in what is left of their habitat, where even the cuyes (domestic guinea pigs raised as food) can sense the evil of certain visitors, and where the local villagers defend their lands. Interspersed with the narrative are fragments of poetry, not poetic description but poems in several genres, long and short. They are declaimed by a pair of characters on a bed, or found on discarded scraps of paper, palimpsests of verse and soda-bottle stains. The mashup of genres and geographies is typical of Gabriela 4 Infoteca’s E-Journal No. 451 august 2018 Sistema de Infotecas Centrales Universidad Autónoma de Coahuila Alemán, about whom the Argentine writer Pedro Mairal has said, “In Bogotá, where I met her over mojitos and spiced canelazos, I watched her dance. I saw right away that within the harmony of her movements there was something that threatened to come apart. She looked like she’d fall flat on her back but she didn’t, she kept on dancing. Sometimes she writes like that—she does something unexpected, things fly apart, she leaps into the void, and you think there’s no way she can pull this off – but no, everything fits together, falls into place, flows.” In 2007, Alemán was chosen as one of the thirty-nine Latin American writers under thirty-nine that everyone should read, the selection was based on her first novel, Body Time (set in New Orleans, where she studied for a doctorate in Latin American film), Poso Wells, and three books of short stories. Since then she has published two more books of short stories and another novel, edited several anthologies, and co-founded a print and digital press in Quito, Ediciones Fakir. GABRIELA ALEMÁN Ediciones Fakir has its office in the historic center of the city and its mission is to explore how to identify audiences for Ecuadorian writing in the twenty-first century. As Alemán explains, “Ecuador is not a country that prides itself on its reading habits, so one of our main concerns is ‘spreading’ the love of books. To do that we try to make very affordable books and tap into established genres whose Ecuadorian practitioners aren’t well known. Last year we put out an anthology of horror stories from the nineteenth century, and this year it’s going to be Ecuadorian sci-fi. Ecuador doesn’t have a tradition of graphic novels, so one of our collections concentrates on those. There are also a number of very good books that are out of print or have disappeared from the canon, and we are doing an archeology of sorts to attempt to rewrite it.” These include the work of the poet and short story writer César Dávila Andrade (1918-1967), whom they consider to be the preeminent Ecuadorian writer of the 20th Century, though he is far from a household name. Andrade was known to his 5 Infoteca’s E-Journal No. 451 august 2018 Sistema de Infotecas Centrales Universidad Autónoma de Coahuila friends as “Fakir” on the basis of both his skeletal build that suggested a religious ascetic, and a certain tendency toward the occult—hence the name of the press, in his honor. Alemán’s personal tastes in literature vary widely, from Latin American writers of many stripes to Toni Morrison, Karel Capek, and Ursula LeGuin. Her own oeuvre is equally eclectic. Her father was an Ecuadorian diplomat, which is why she was born in Brazil and grew up in a variety of cities of Latin America and Europe. Humo (Smoke), her third novel, published in 2017, is a historical fiction set in the rivers, jungles, deserts, and cities of Paraguay. Her short stories trot across borders, but Alemán never forgets her roots. The stories in her collection Albúm de familia (Family Album, 2010) feature characters from Mexico, the U.S., Puerto Rico, Germany, Argentina, and more, yet every story has a connection to the country that one narrator calls “the Middle of the World.” In one, John Wayne Bobbitt (whose penis, severed by his wife Lorena, figured in the 1993 U.S. tabloid sensation of the year) shows up in Buenos Aires in the arms of an Argentine ex-actress. Another called “Superheroes” revolves around El Santo, the wildly popular Mexican wrestler, comic-book superhero, and film actor of the 1940s-‘80s, but another of Alemán’s dogged journalist characters tracks down the key to his appeal in a mountain village in the north of Ecuador, where an ex-girlfriend of the wrestler (Venezuelan by birth) has chosen to settle for the rest of her life. “Whoever embodies the myth becomes it,” the journalist concludes. “The mechanism is perfect; the gearing, precise; the house of cards, fragile. And the story? Who cares? It can pass for perfect.” Translation also tries to pass for perfect while playing down the fact that it’s a kind of sleight of hand. The challenge of translating Poso Wells began with the title, the name of the squatter settlement. Poso is an unusual word in Spanish, echoing el pozo (the well), but actually meaning “sediment.” “Wells” of course refers to H.G., whose story Alemán read at age fourteen, amazed to find that one of her favorite English writers had set a story in her country. Much later, packing for one of her many moves from place to place, she found the book, reread it, and decided she had do something that would make use of it. The solution to translating the title turned out to be not to do it. The original title is half English and half Spanish, so the translation might as well be that way too. Other issues called for more intervention (or invention). The local boss, thug, and fixer in Guayaquil is referred to by his surname, Salem, which U.S. readers will hear as either a city famous for its witch trial or a vanished brand of menthol cigarettes. The heroine, Bella Altamirano, has a name that means “beauty” but her face has been disfigured by a scar resulting from domestic violence. The newspaperman has a Mexican poet sidekick, whose language is peppered with the slang and tastes of Mexico City, and their repartee is a comment on the cultural influences and divides between their countries. His poems are brief, aphoristic, and drenched in devices that only Spanish syntax allows, Another poem, a long one recited by a different character, contains the line musica de más pájaros negritos / y pajaros pajeros / como yo, which says, roughly, “music of black birds and birds that jerk off, like me,” but that’s not how it says it, of course, because the centerpiece is the pun, pajaros/pajeros, which has other associations as well. The translation required a voyage in the direction of feathers and cocks. But puzzles like these are also what makes literary translation so enjoyable, and for this book I had the collaboration of an author who frequently translates from English to Spanish, so our conversations about these and other mysteries were enriching for us both. She compares it to the experience of a writer friend who translates his own work while he’s writing, “so he can see whether what he’s saying makes sense.” In the end, she says, “It was like reading my own novel as if someone else had written it.” 6 Infoteca’s E-Journal No. 451 august 2018 Sistema de Infotecas Centrales Universidad Autónoma de Coahuila And, as a matter fact, there are certain fragments of her book that someone else did write. The Mexican poet character is named Benito del Pliego, and his poems are the creations of a real person by that name, not a Mexican but a Spaniard resident in North Carolina. The long poem with the pajaros/pajeros is by the Quito- born writer Andrés Villalba, who gets credited as “my friend Andrés” by the character reciting the poem, a gender-fluid poetry fan who rescues Benito from a police roundup. Ever the editor and disseminator, Alemán borrows not only from Wells, but from her friends who are poets and practitioners of Spanish-language literature around the globe. As a citizen of the Andes, perhaps it is not surprising she should have such an expansive view. Dick Cluster writes fiction and history and does literary and academic translation from Spanish. Poso Wells will be published in English by City Lights Books in August. Cluster’s translation of Gabriela Alemán’s story “Spears” appeared in the online magazine Lunch Ticket, Winter/Spring 2018; “Superheroes” will appear in the January/February 2019 issue of Kenyon Review. His Latin American baseball fiction anthology, Kill the Ámpaya, was published by Mandel Vilar Press in 2017. https://www.theparisreview.org/blog/2018/07/30/literary-ecuador-gabriela-aleman-quito-and-guayaquil/ 7 Infoteca’s E-Journal No. 451 august 2018 Sistema de Infotecas Centrales Universidad Autónoma de Coahuila Next-generation robotic cockroach can explore under water environments 'HAMR' can walk on land, swim, and walk under water Harvard John A. Paulson School of Engineering and Applied Sciences Summary: In nature, cockroaches can survive underwater for up to 30 minutes. Now, a robotic cockroach can do even better. Harvard's Ambulatory Microrobot, known as HAMR, can walk on land, swim on the surface of water, and walk underwater for as long as necessary, opening up new environments for this little bot to explore. Share: FULL STORY The next generation of Harvard's Ambulatory Microrobot (HAMR) can walk on land, swim on the surface of water, and walk underwater, opening up new environments for this little bot to explore. Credit: Yufeng Chen, Neel Doshi, and Benjamin Goldberg/Harvard University 8 Infoteca’s E-Journal No. 451 august 2018 Sistema de Infotecas Centrales Universidad Autónoma de Coahuila In nature, cockroaches can survive underwater for up to 30 minutes. Now, a robotic cockroach can do even better. Harvard's Ambulatory Microrobot, known as HAMR, can walk on land, swim on the surface of water, and walk underwater for as long as necessary, opening up new environments for this little bot to explore. This next generation HAMR uses multifunctional foot pads that rely on surface tension and surface tension induced buoyancy when HAMR needs to swim but can also apply a voltage to break the water surface when HAMR needs to sink. This process is called electrowetting, which is the reduction of the contact angle between a material and the water surface under an applied voltage. This change of contact angle makes it easier for objects to break the water surface. Moving on the surface of water allows a microrobot to evade submerged obstacles and reduces drag. Using four pairs of asymmetric flaps and custom designed swimming gaits, HAMR robo-paddles on the water surface to swim. Exploiting the unsteady interaction between the robot's passive flaps and the surrounding water, the robot generates swimming gaits similar to that of a diving beetle. This allows the robot to effectively swim forward and turn. "This research demonstrates that microrobotics can leverage small-scale physics -- in this case surface tension -- to perform functions and capabilities that are challenging for larger robots," said Kevin Chen, a postdoctoral fellow at the Harvard John A. Paulson School of Engineering and Applied Sciences (SEAS) and first author of the paper. The most recent research is published in the journal Nature Communications. "HAMR's size is key to its performance," said Neel Doshi, graduate student at SEAS and co-author of the paper. "If it were much bigger, it would be challenging to support the robot with surface tension and if it were much smaller, the robot might not be able to generate enough force to break it." HAMR weighs 1.65 grams (about as much as a large paper clip), can carry 1.44 grams of additional payload without sinking and can paddle its legs with a frequency up to 10 Hz. It's coated in Parylene to keep it from shorting under water. Once below the surface of the water, HAMR uses the same gait to walk as it does on dry land and is just as mobile. To return to dry land HAMR faces enormous challenge from the water's hold. A water surface tension force that is twice the robot weight pushes down on the robot, and in addition the induced torque causes a dramatic increase of friction on the robot's hind legs. The researchers stiffened the robot's transmission and installed soft pads to the robot's front legs to increase payload capacity and redistribute friction during climbing. Finally, walking up a modest incline, the robot is able break out of the water's hold. "This robot nicely illustrates some of the challenges and opportunities with small-scale robots," said senior author Robert Wood, Charles River Professor of Engineering and Applied Sciences at SEAS and core faculty member of the Harvard Wyss Institute for Biologically Inspired Engineering. "Shrinking brings opportunities for increased mobility -- such as walking on the surface of water -- but also challenges since the forces that we take for granted at larger scales can start to dominate at the size of an insect." Next, the researchers hope to further improve HAMR's locomotion and find a way to return to land without a ramp, perhaps incorporating gecko-inspired adhesives or impulsive jumping mechanisms. This research was co-authored by Benjamin Goldberg and Hongqiang Wang. It was supported by the Harvard John A. Paulson School of Engineering and Applied Science, the Wyss Institute for Biologically Inspired Engineering and the Office of Naval Research's Defense University Research Instrumentation Program. Story Source: 9 Infoteca’s E-Journal No. 451 august 2018 Sistema de Infotecas Centrales Universidad Autónoma de Coahuila Materials provided by Harvard John A. Paulson School of Engineering and Applied Sciences. Original written by Leah Burrows. Note: Content may be edited for style and length. Journal Reference: 1. Yufeng Chen, Neel Doshi, Benjamin Goldberg, Hongqiang Wang, Robert J. Wood. Controllable water surface to underwater transition through electrowetting in a hybrid terrestrial-aquatic microrobot. Nature Communications, 2018; 9 (1) DOI: 10.1038/s41467-018-04855-9 Cite This Page:  MLA  APA  Chicago Harvard John A. Paulson School of Engineering and Applied Sciences. "Next-generation robotic cockroach can explore under water environments: 'HAMR' can walk on land, swim, and walk under water." ScienceDaily. ScienceDaily, 2 July 2018. <www.sciencedaily.com/releases/2018/07/180702111243.htm https://www.sciencedaily.com/releases/2018/07/180702111243.htm 10 Infoteca’s E-Journal No. 451 august 2018